This episode is the end of season 1. We say goodbye to Yōkai and go brave into the future. Covering the final films - Funayūrei 4 and 5 we see a full circle narrative arise from the combination of fifteen films.

This episode is Funayūrei 3. Longest of the series at almost ten minutes. The film had a few stages of completion as it worked to become an extensive excavation of the life of bees and coordinates the narrative carried from the second through the third.

This episode covers Funayūrei 2. Continuing the painterly approaches to image combination, this film also devolves into some of the most abstraction of the entire series with an ending that reframes the whole.

This episode shifts from the frame breakage of Hikikomori 5 to the exterior envisaged by Hikikomori 1. A larger idea embodied by numerous in this trilogy - close proximity of personal interior with moments that push away.

This episode looks exclusively at the last film for Aokigahara and how it took making the feature film KliKt to excavate buried ideas feeding an understanding that informed the development of The Yōkai Trilogy's films.

This episode presents a break down of Nirvana's 'Smells Like Teen Spirit' music video and launches into how to not make a film, yet derive a way of making from it. Professionalism be damned. It also ends with the last track of Aokigahara and bends closer to talking about the second record's films.

This episode of The White Whale continues interrogating the films and dives into Garrett's history to learn more about what shapes the current work. Shifting from Jurassic Park to Fellini to the music video for Nirvana's 'Smells Like Teen Spirit', this episodes shapes context and provides valuable considerations for The Yōkai Trilogy's visual layout possible.

This episode turns the tables as John interviews Garrett about making the films. Discussion shifts from the films to previous work such as Trickery Mimicry and Public as a turn back tot he topic at hand.

This episode of The White Whale winds things down. Concluding Funayūrei's making, John brings us to the guest in his room uninvited and the curious happenings around the finality of the trilogy. It's an ending in a beginning.

This episode of The White Whale goes deeper into the dreams and strange happenings of Funayūrei's making. John starts having vivid dreams that lead him down a rabbit hole to Christopher Hitchens and eventually playing material for a girl who throws up in his guest room.

This episode of The White Whale returns looks at how one develops an openness with creativity and thinking outside the box of art. Where do we get our ideas? How do we accept our voice and interpretation if the surrounding thoughts counter it as correct? Why does it matter that you find your own road?

This episode dives into the "choose your own adventure" element to The Yōkai Trilogy's production as we move closer to Funayūrei and an eventual descent into the videos that came about as a result of this music.

This episode starts addressing the films and how they evolved the way John saw the music. The coincidences of construction keep building onto this new narrative, creating ripples in how everyone can interpret the work.